Shadows/Highlights Review

• if the subject is in the shadows we will meter for the shadows (most of the time)
• if most of the scene other than the subject is highlights we will split the difference between highlight and shadow meter readings
• if the subject is in the highlights and most of the scene consists of highlights, meter for the highlights
• if half of the scene is shadow and half is highlights, shoot at the calculated middle meter reading

Printing Challenge

Normal

Underexposed Negative

• thin
• not enough exposure
• EX. f8 @ 1/60 --> f8 @ 1/125

For Printing

• increase contrast (magenta filter)
• less time (exposure for print)

Overexposed Negative

• thick; too much exposure
• generally have to decrease contrast to print as normal
• increase printing time
• EX. f8 @ 1/60 --> f8 @ 1/30

SABATTIER EFFECT

Discovery: Over a century ago, a French doctor and scientist, Armand Sabattier, discovered what he called a psuedo solarization reversal effect.

• today it is often erroneously referred to as solarization, but there is a distinct difference between solarization and Sabattier
• technically solarization is the reversal of an image on film by extremem over exposure
• the Sabattier effect is the partial reversal of an image on neg or print that occurs when the film or print is re-exposed to light in the developer.

Chemical Process

• to create a print for Sabattier, first find proper contrast and density for the particular image
• now boost the contrast to around 140 magenta and print the image lighter than normal
• place print in developer for about 10-15 seconds, stop developer and and re-expose the print for about 3-4 seconds
• continue developement (this time really varies)
• stop and fix as usual
• Mackie lines

Filters for Black and White Shooting

Filter - a photographic filter is made up of transparent material - glass, plastic or gelatin - with dyes incorporated so that it selectively removes specific colors or wave lengths of light that pass through it.

Additive Primaries

Red, Blue Green
Red + Blue = Magenta
Blue + Green = Cyan
Red + Green = Yellow

EX. A red filter is ideal o expose for sky. It blocks or darkens green and blue (cyan).

• a red filter appears red because it allows red light to pass, absorbing other colors of light (blue and green)
• red filter, filters our cyan, blue and green light
• in general, in the print a filter darkens most strongly its complimentary color

Full Frame

How

• using an 8x10 easel
• size down image area to fit inside the frame
• for clean boarders use one of the four bladed 11x14 easels
• size image as desired on 8x10 paper and but in the edges of easel to block the rough edges of neg carrier

Black Borders

1. File down edges of neg carrier to include rebate of neg in print

• you can also make your own neg carrier out of foamcore

2.

a)Frame full frame of image on 8x10 paper
b) Determine density and contrast, burning and dodging, feather edges, etc.
c) Make exposure, cut out a piece of opaque cardboard that is slightly smaller than the size of your image on the print.
d) Place the cardboard down over the area.
3) Expose print a second time (with or without neg) for as long as you need to make black border.

Multiple Printing: printing multiple negatives as one image

1. Expose one image over another in camera - underexpose both images to make one properly exposed negative
2. Combine two negs in the neg carrier and print through both - best to use underexposed negs

Enlarger Blending

1. Select two or more negatives.
2. Decide where you want them to blend.

Burning and Dodging

PHOTO [light] GRAPHY [to write]

Burn

• increase the exposure in a particular area of the print by blocking everything else in the print from image light and giving additional printing time to that area. Burning will darken the area when printing from a negative. Also called burn in or print in.

Dodge

• to reduce exposure in a particular area of a print by blocking image light from that area during part of the exposure. When printing from a negative, dodging will lighten the area. It is also called hold back.

Why Burn and Dodge?

1. Range - often one overall exposure cannot reconcile in both shadow and highlight areas. Burning and dodging are employed to create a larger ranger of tones in the print.
2. Mood - use to create drama
3. Balance

Vignetting

• making more exposure on the edges of a print to make the edges darker and to make focus of the image inwards

TIPS

1. To avoid obvious wire marks leading up to the precisely dodges areas, bend wire away from the paper.
2. To make a softer edged or sharped hand held mask, raise the image with books.
3. Print with conviction.

Contrast

Contrast

• in general, a difference between extremes used in many photographic contexts; lighting contrast, negative contrast, printing paper contrast, and in contexts in design, such as contrast in subject matter, mood, textures and so on.

Printing Contrast

• difference between highlights and shadow areas in our print

Color Contrast Filters

• used in B+W printing to change the tonal relationships of objects within the image
• yellow filters are used to reduce contrast (less difference between shadows and highlights)
• magenta filters are used to increase the contrast in the print (creates more difference between shadows and highlights)

How do you determine what level of filtration to use?

• test the negative at zero filtration
• look at the highlights on the test strip
• choose a time where there is reasonable density in the highlights
• print another strip at the time determined (still at zero filtration)
• now look at the shadow area of the print
• if at the desired time in the highlights the shadow area is too light you need to increase contrast
• if at desired time for highlights the shadow area is too dark you need to decrease contrast
• it is important to remember that as you add filtration you will need to re-test for density
• adding filtration will increase printing time, generally

Diffusion Enlarger.............Condenser Enlarger

80 yellow......................filter #0
30 yellow......................filter #1
no filtration..................filter #2
40 magenta.....................filter #3
65 magenta.....................filter #3.5
100 magenta....................filter #4
170 magenta....................filter #5

• the grain that we see in our prints is the grain from the film
• fast ISO produces larger grain structure
• 1600 is larger than 400
• because grain is ultimately controlled by the film, our choice of paper or amount of filtration will NOT affect the size of the grain. Only enlargement will increase size of grain in print
• our perception of grain changes based on smoothness of the edges of grain
• as we increase contrast, the grain structure becomes more apparent even though the size hasn't changed

Portraiture

PORTRAITURE

2 ways:

• deal with pre-existing light
• modify or eliminate existing light or pre-existing light

How to use light:

• move your subject
• change camera position
• wait for desired light

This determines how and where the shadows fall

Modify Light

• study light
• start from the bottom and work your way up
• main light source is going to be high
• EX. lighting from underneath the subject looks unnatural and scary

Daylight Photography

• the sun can go under many modifications
• the direction of light
• light changes, EX. time of day

1. Direction
2. Quality - type of light
3. Color of the light

EX. Hazy glowing light can create soft shadows and low contrast.

Available Light Photography

• accept and work with pre-existing light; this light can be natural or artificial
• often this light is low so we'll need large aperture openings and perhaps a tripod
• faster ISO

Environment Portrait

• use a wider angle lens to include elements of the scene

Black and White Printing Papers

BLACK AND WHITE PRINTING PAPERS

• as with film, the image is an emulsion containing silver halides


• the base, or the support is paper rather than transparent film

BASE

• print base comes in either resin coated (RC) or fibre based (FB)


• RC paper washes quicker and takes less time to develop, stop and fix; more time efficient


• RC paper is coated on both sides with a plastic layer


• people generally use RC paper for its quicker wash times and drying times


• FB paper is generally higher quality and is more traditionally for the fine art and presentation


• according to research, FB paper is more archival than RC

Surfaces

• most brands offer several different surfaces and textures


• generally the types are named glossy (F), pearl (E), matte (N)
  

Color Sensitivity

• black and white papers are generally blue sensitive. This means that exposure to the opposite spectrum (amber or red) will NOT fog paper

Panchromatic Paper

• a special black and white paper that is sensitive to all visible colors


• used for making black and white prints form color negs


• must be processed and handled in complete darkness

Paper Contrast

Print Contrast: Difference in tones between the lightest areas and the darkest areas in the print

Paper Contrast: The physical response of the paper to differences in exposure. This factor controls the overall contrast of the print.

• FB paper has a larger contrast range than RC paper


• paper contrast used to be given as a number from 0 to 5


• these graded papers are generally not used anymore


• we now use multigrade or variable contrast papers

Variable Contrast Papers

• the emulsion changes contrast based on the COLOR of light used to expose the image


• yellow light produces a lower contrast


• magenta light produces a higher contrast

Image Color

• actual color or tint of black and white prints vary from paper to paper


• tint can be warm (tending to brown), neutral, or cold (tending to blue)


• another way to effect image color is to tone the print using sepia (warm), blue, or selenium toner

The Darkroom

• a light proof room
• need electrical wiring
• ideally the room would have running water
• don't' need a lot of space
• organization is important as is cleanliness
  

Enlarger

• functions very similarly to a slide projector
• has a light source, a place to hold the negative and a lens that projects the enlarged image of the negative on the baseboard
  

2 Types of Enlargers:

Condenser

• generally provides more light to the neg and results in shorter print times
• provides slightly more contrast in black and white prints
• filters are added
• frosted bulbs; light source with tungsten filament

Diffusion

• light is diffused or scattered over the surface of the neg; print times are longer
• surpasses the effect of dust on a neg
• filters are built into diffusion head
• quartz halogen bulbs (ESJ)
• these are the enlargers we use

Format Size

• most enlargers will have the capacity to print from a range of film sizes
• our enlargers are called the LPL Dichromatic 6700

Enlarger Lenses

• because the enlarger lens forms the image of the negative, the quality of the print heavily depends on he quality of the lens
• just like lenses on our cameras,, enlarger lenses can come in different focal lengths
• 50mm lenses are used to print 35mm film
• 75mm-90mm lenses are used to print medium format film
• 135mm-150mm lenses are used to print 4x5 film
• enlarger lenses contain an aperture ring with different f-stops

OTHER DARKROOM EQUIPMENT

Safelight

• red or amber in color in a black and white darkroom
• photographic black and white paper is NOT sensitive to this range of light
• intensity of light should not be too strong or paper will be fogged

Timer

• enlarger DO NOT have shutters so the length of exposure is control through the timer

Easel

• holds the printing material during the exposure
• i is essential for accurate positioning of the image on the paper and allows the image to be exposed with clean white borders

Focusing Magnifier

• the image must be focused on the easel or maximum sharpness
• enlarges the image for more accurate focusing
• grain focusers allow us to see the actual grain of the film

Dust and Cleaning

• dust is our worst enemy in the darkroom
• hurricane blowers, compressed air or anti-static cloths can be used to clean dust off the surface of a neg

Magnifying Lupe

• a device used to directly inspect negs for sharpness or defects

PRINT PROCESSING EQUIPMENT

Trays

• used for holding processing chemicals
• minimum of four trays
• use tray one size larger than the paper size

Tongs

• to avoid contact with chemistry, use print tongs for handling the prints in trays

Storage Containers

• dark brown plastic or glass containers for storing already mixed chemicals

Thermometer

• important to control temperature of chemicals and mixing water

Timer

• a clock timer that is easily visible for timing steps of chemical process

Washer

• necessary for clean, long lasting prints
• allows water to flow gently and continuously over the surface

PRINT CHEMISTRY

1. Developer: 1 minute

• converts latent (invisible to our eyes) into a visible silver image
• different developers can effect a print's color, contrast and tonal rendition
• mix Ilford multigrade paper developer 1:9 ratio (chem:water)
• EX. 100ml chem : 900ml water

2. Stop Bath: 30 seconds

• neutralizes the developer, stopping the action of the developer elongating the life of the fix
• we use Ilford odourless stop
• 1:19 ratio

3. Fix: 1.5 minutes

• makes images permanent
• removes unused silver halides from paper
• 1:9 ratio

4. Wash: 5 minutes

• continuous flow of water

Anolog Techniques - Definitions

Aperture

Technical - physical openings control amount of light that hits the film
Creative - controls depth of field (DOF)

Small DOF = small area of focus in image
EX. A portait that isolates the subject from its surroundings (large opening)

Large DOF = large area of focus in image
EX. A landscape image where everything is in focus (small opening)

Small no. = large opening
Large no. = small opening

Shutter

Technical - controls the amount of time that light hits the film
Creative - Depiction of motion

Sync Speed - the fastest shutter speed that can be used to successfully with a flash

Reasonable hand held shutter speed: 1/lens length

Chapter 3
pp. 29 - 33

Definition of Expsure

Film exposure = illumination of image on film x time
Illuminance = amount of light falling on a surface
Luminance = amount of light reflecting from the suface of the subject

Luminance is affect by 2 variables:

1. Illumination - the amount of light falling on the subject
2. Reflectance -ability to reflect light

Shutter Speed - the length of time the image is allowed to fall on the film

1 1/2 1/4 1/8 1/15 1/30 1/60 1/125 1/250 1/500 1/1000

---> Half the amount of time .......Doubling <---

longer shutter speeds...............faster shutter speeds
more light or exposure..............less light or exposure
slower..............................faster
blur................................stop motion

Each are one stop away from each other

Aperture - a variable opening in the lens consisting of an iris shaped diaphragm. This is controlled by the ring with f-stops on it. It controls the amount of light hitting the film as well as the DOF.

1.4 2 2.8 4 5.6 8 11 16 22

<---Double.........Half --->

more light less light
shallow DOF larger DOF

EX. Equivalent Exposures

Daytime: f5.6 @ 1/125
f2 @ 1/1000
f22 @ 1/8

Night time: f5.6 @ 1/30
f22 @ 1/2

ISO - film speed index. The sensitivity of the film to light

50......100......200......400......800......1600......3200

less sensitive to light...........more sensitive to light